Director: Paolo Magelli
Translator: Vanda Mikšić
Dramaturge: Željka Udovičić Pleština
Stage Design: Lorenzo Banci
Costume Design: Marita Ćopo
Music: Ljupčo Konstantinov
Lighting Design: Zdravko Stolnik
Video Design: Lorenzo Banci, Žad P. Novak i Tamara Damjanović
Assistants director: Tamara Damjanović i Žad P. Novak
Assistant set design: Ana Pulić
The production’s visual identity: Vanja Cuculić / Studio Cuculić
Photography: Ines Stipetić

Ksenija Pajić
Jelena Miholjević
Barbara Nola
Nataša Janjić
Tena Nemet Brankov
Petra Svrtan
Janko Rakoš
Ranko Zidarić
Enes Vejzović
Igor Kovač

Guitar – Igor Kovač
Clarinet – Petra Svrtan
Piano – Jelena Miholjević, Janko Rakoš
Bass – Enes Vejzović, Nataša Janjić
Accordion – Barbara Nola
Violin – Barbara Nola
Drums – Ranko Zidarić
Saxophone – Tena Nemet Brankov
Maracas – Nataša Janjić
Vocal – Ksenija Pajić

Stage Manager: Snježana Majdak
Prompter: Marina Fakac

Opening night: September, 22nd 2017.

‘’The Reunification of the Two Koreas’’ is a witty and poetic play written with tenderness and understanding of an actor who writes for the actors. Paolo Magelli is a director who skilfully assembles formally dispersed texts such as this one and condenses them, expertly emphasizing their dramatic and ludic character. Pommerat’s writing is ‘’bitter-sweet’’, as if the French author pokes fun at the melodramatic matrix, but doesn’t mock it, instead inventively questioning it. Translated by Vanda Mikšić, the most recent recipient of the ‘’Iso Velikoanović’’ Award for her translation of Georges Perec, ‘’The Reunification of the Two Koreas’’ is a play – ‘’a praise of love’’, playful and open to an emotional encounter with the viewer. Performances of contemporary French plays are a rare thing in Croatian theatre which makes ‘’The Reunification of the Two Koreas’’ all the more interesting...

“The play is easy to watch as its flow is swift and the questions and dilemmas put forward strike a chord with the audience. Magelli made an excellent selection of actors, of the ensemble as a whole, of the cast in each of the individual episodes. He determined the dosage of eroticism with utmost precision because, frankly, talking about love for two and a half hours without showing that, except for the heart and head, it requires another body organ or two would qualify as hypocrisy. As always in Magelli's plays, the actors give their best and present us with another new face.” (Bojana Radović, Večernji list)

“One part of the audience was thrilled by the courage and straightforwardness of the direction and play, while the other was really concerned about the chastely presented nudity. The most important thing, however, is that Magelli has awakened the Gavella ensemble and given every actor the space to first and foremost explore their own capacities. The show lasts two hours and ten minutes, there is no break, and there is no need for one. The ten actors energetically and straightforwardly interpret a multitude of roles, but each has a common denominator.” (Tomislav Čadež, Jutarnji list)

“It cannot be said that Magelli's work with actors yields no revealing results. In this play, for instance, we meet a new forceful defiance, a gift for satire and a mature stage self-awareness of Nataša Janjić, as well as an original tragic expression of young Tena Nemet Brankov. Ranko Zidarić’s ironic distance is more poisonous than ever, while the anatomy of various faces of defeat in the performance of Enes Vejzović proves that no social scalpel can cut deeper than actors who dissect the masks of hypocrisy.” (Nataša Govedić, Novi list)

“The Reunification of the Two Koreas is total theatre. Magelli's play, as by means of a surgical knife, exposes the core of the relation between two sexes ... (...) Make sure you watch it with your significant other!” (Želimir Ciglar, Vijenac)